The term vision in the cinematographic context presupposes the existence of “auteur cinema”. The general purpose of this writing is the filmic analysis of Kim Ki-Duk’s Breath to highlight certain dramaturgical affiliations in said film. The central inquiries state the structure of the story based on the theory of the fourth wall; a phenomenon whose origins go back to the theater, but which later became an innovative resource in contemporary cinematography. The importance of this analogy provides a peculiar look that allows us to reconstruct the justification of the creative foundations revealed by Kim Ki-Duk in his cinematographic account. The analytical methods applied borrow from semiology the instruments to isolate elements of the language unique to the analyzed film. These findings reconsider the value of rhetoric applied to the structural study of cinema, which has been scarcely treated in the field of current film criticism.